These musical parts include playing on Kanoon by Yosef Za'aroor .They were played live during the Arabic broadcast of Kol Israel radio station without being recorded for saving at archives of the broadcasting Authority (publick government that governs Israeli radio and television broadcasts).
We found these tape recorders at the department named "The Greatest Instruments Players" at "zeryab" site of classic oriental music and songs.
These Kuwaiti forum members, some are experts of Iraqi music, recordered the music which was broadcasted at the Israeli radio with respect to its Jewish performers that had a place of honor at the history of the Iraqi music before they immigrated to Israel. This forum has these rare tape recorders respectful words and professional analysis.
maqam Raset (Kanun) – Yusof Za'aror
maqam daba (Kanun) – Yusof Za'aror
Maqam Hujaz (Kanun) – Yusof Za'aror
Maqam Bayet (Kanun) – Yusof Za'aror
Maqam Hujaz (Kanun) – Yusof Za'aror
Dulap&Taxim Ajam (Kanun) – Yusof Za'aror "Og": "A beautiful and a perfect Taxim that has some difficulty to use it and follow its music, the opposite from other compositors like Biath and Rasath. Who ever knows the passageway at the Iraqi poetic Ajam melody will recognize that Yossef Za'aroor made most of them at the Taxim and it is as if he commend to the singer before he starts singing and by that emphasis his musical talent.
At the end of the melody he didn't make the final of the poetic Ajam makam nor tried to lock it but finished by repeating the introduction – a great expertise – and therefore bringing the singer to a convenient situation in which he just starts to read the makam".
Dulap&Taxim Huzzam (Kanun) – Yusof Za'aror "Zeryab" : "It is very rare to listen to Huzzam melody separated from Siga melody at the traditional-classic Iraqi instruments player. This is why this Taxim is different from its previously Taxims though it belongs to the typical style of Za'aroor. The spirit of playing is mixed and is not pure Iraqi".
Dulap & Taksim Hijaz (Kanun) – yusof Za’aror "Zeryab", a member of the forum, represents this part when saying "We are back to Yossef Za'aroor and his beautiful melody on Kanoon. We should pay attention to the old style in which he beautifies the Taxim melody. He finishes the Taxim with Bagdadi makamic preparation with a soft touch of the melody (A flat) and continue to the final part that spiritually was inspired by the Madmi".
"Og": "There are musical players that the melodies are their property and there are some other who borrow them. Za'aroor controlled the melodies and did with them as he wished. I believe that the passage among melodies which are at the same musical scale, however different in the way of using them, is more difficult than the passage among melodies that belong to different musical scales and levels. An example to that is the passage between Hijaz Diwan to Hamathnawi and to Madmi and later on to Aribon Ajam etc. All of these belong to the same music level and passing among them is very difficult. What Za'aroor did at the 3:37 minute when he passed between natural Hijaz to Madmi Hijaz can express his great talent at such passes".
Dulap & Taksim Segah (Kanun) – Yusof Za’aror "Og": "What a lovely melody of Za'aroor. The melody here turns to pure Eastern-oriental hue especially at the Dulap. But Yossef Za'aroor expressed himself in all styles and went quickly through a few of the melodies with the skills and talents of a man who controls his work and by that varies the main melody. I can't comprehend how he entered the Me'halef melody and how he exit it in a way which apparently looked quite simple but as a matter of fact was very complicated".
"Elmula" (a forum member): "This musician is like a big school – a wonderful classic oriental combination".
"Oystrech" (another forum member): "Za'aroor's melody is more than wonderful. In my opinion Za'aroor's styke is different than other Kanoon players at the world".
Dulap & Taksim Saba (Kanun) – Yusof Za’aror "Zeryab" says there is an opportunity to compare between the two Kanoon players, Za'aroor and A-Shibley when playing the same melody Saba and find out who is closer to the Iraqi spirit or has a deeper understanding to the process of the Iraqi melody.
"Og" reninds that the great Kanoon player, H'dayer A'Shibley who became famous at the 50' learned to play the Kanoon at 1950 from by Yossef Za'aroor before Za'aroor immigrated to Israel. He adda that A-Shibley "couldn't help crying when listening to the tape records of his teacher, Yossef Za'aroor and never compare his own playing to his teacher's.
"In my opinion, higher as A-Shibley's playing is, the secret of combination stays with Za'aroor".
Taksim Ibrahimi – Kanoon – Yusif Za'aror "Og" wrote: "Makam Ibrahimi is the longest of all Iraqi makams and include different melodies among every other makam. Yossef Za'aroor , however, played this makam entirely with all its parts.
This record was copied from another album that Yossef Za'aroor recorded all the makam melodies before he immigrated to Israel by the order of prime minister of Iraq, Nuri A-Saeed".
Taksim Awshar – Kanoob – Yusif Za'aror "Og" played this Taxim at the site of "zeryab" as an example of a melody based on Makam Awshar which belongs to the group of makam in Segah melody. He wrote that the player is "The great Kanoon player, Yossef Za'aroor".
